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The SpoilerTV Daily Newsreel - 6th December *Updated*

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  • 04:10 - Getting On - Episode 3.06 - Reduced to Eating Boiled Magazines and Book Paste (Series Finale) - Promo

  • 03:20 - Agent X - Episode 1.07 - The Long Walk Home - Promo

  • 03:20 - Mom - Episode 3.06 - Horny-Goggles and a Catered Intervention - Promotional Photos

  • 03:20 - Life In Pieces - Episode 1.10 - Burn Vasectomy Milkshake Pong - Promotional Photos

  • 20:45 - 2 Broke Girls - Episodes 5.04 + 5.05 - Promotional Photos
    Episode 5.04 - And the Inside Outside Situation

    Episode 5.05 - And The Escape Room

  • 20:25 - Syfy UK Acquires Rights for Extant and Killjoys
    Syfy UK has closed a deal with sister company NBCUniversal International Distribution to acquire the exclusive UK rights to Killjoys, TVWise has learned.

    Additionally, in a separate deal with CBS Studios International, the NBCU owned channel has also picked up the UK linear rights to the second and final season of Extant.

    “Both Killjoys and Extant will grip audiences from the start, truly fulfilling the channel’s ‘Imagine Greater’ promise,” said Colin McLeod, NBCUniversal International Networks’ Managing Director, UK and Emerging Markets. “We are so pleased to start 2016 with two such exciting shows.”
  • Code Black - Episode 1.11 - Black Tag - Promo

  • 20:35 - You're The Worst - Season 2 - Stephen Falk talks Depression with Variety
    Thanks to RD for the heads up.
    Why do you think TV has such a hard time conveying it in any kind of realistic way? Is it because most of TV is still stuck in a mindset that says, “We have to be able to wrap it up by the end of this arc or at the end of this episode”?

    Yeah, I think so. We’re in an environment with FX that allows us to be truthful and not have to gussy it up. Certainly having the mandate to make it interesting was a challenge, because it can be very passive. But even the episodes where Gretchen’s depression is at its worst and she is very passive, like in episode 12, we worked really hard to find ways to make what’s happening in the frame not passive or boring, or we tried to render the passivity in an interesting visceral way.

    I reject the idea that a lot has to be going on in a frame for it to be interesting. You can delve very deeply into silence and inactivity and paralysis and render it haunting and beautiful and just as interesting as Joe Pesci delivering some whirlwind monologue. It’s not binary. [It’s a matter of doing it realistically], but also just having the dramatic skill set to make it also fun. I mean, “fun” seems like a really weird word when describing this kind of storyline, but that’s what you have to do. Even “Kramer vs. Kramer” — it’s a fun movie, and I think I mean “fun” in maybe a different way. There’s something happening in the story. You’re feeling something. You’re feeling alive, and to me that’s fun.

    With shows like “BoJack Horseman,” “Mr. Robot” and “Unreal,” I think there’s a different approach to depression bubbling up here and there. There are some shows that are treating it much more matter-of-factly.

    Certainly. I think that television is cyclical, and we’re probably in a cycle [that allows more] depth and [encourages] the kind of stories we’re allowed to tell right now. It has a lot to do with what we were talking about earlier — the fact that there is such a cluttered landscape and that it’s hard to stand out. And also, people like myself or Raphael Bob-Waksberg on “BoJack” or Marti Noxon and Sarah [Gertrude Shapiro of “Unreal”] are being allowed to make television. If you reach a little deeper onto the Hollywood list of writers — and I’m certainly not anywhere near the top — you maybe get people who just have to tell different stories, because [those stories interest them and] they need to try to define themselves and make their career.

    I think the executives are getting savvier certainly. I don’t have the exact demographics, but it does feel like I started working at the end of a certain generation of television writers, certainly sitcom writers, half-hour writers. A new generation has kind of moved in and is taking their place, in certain ways. Certainly not in Chuck Lorre’s world, but in other worlds.

    But we stand on the shoulders of those who came before us. As a kid watching TV, shows would go to really dark places. I mean “M*A*S*H” went to the darkest places. Hawkeye watched a woman kill her child so as not to alert the enemy that they were coming. “M*A*S*H” could be the darkest show.
  • 20:35 - Unforgettable - Episode 4.04 - Dollars and Scents - Promo Thanks to Pierre for the heads up.

  • 20:35 - The Originals - Set Tour with Phoebe Tonkin [VIDEO]
    Thanks to RD for the heads up.

    Source: EW

  • 04:20 - The Knick - Episode 2.09 - Do You Remember Moon Flower? - Promo

  • 23:45 - Imported - NBC Adapting Israeli Soccer Family Comedy
    NBC is looking for a sports family comedy.

    The network is teaming with Keshet to adapt Israeli comedy Imported, The Hollywood Reporter has learned.

    The comedy, which has received a script commitment from the network, s a fish out of water story about an American family who moves to London when one of their sons is drafted by a top English soccer club.

    Robert Borden (The Late Show With David Letterman, George Lopez, Outsourced) will pen the script and exec produce the Universal Television and Keshet comedy. He's repped by UTA and attorney Jeanne Newman.

    Imported comes four months after Keshet Studios — the L.A.-based subsidiary of Keshet International — signed a first-look scripted deal with NBC to co-produce scripted fare with the network's sibling studio, universal Television.

  • 23:45 - Agents of SHIELD - Season 3 - Dillon Casey Interview
    Thanks to Fogh for the heads up.
    TVAD | If the storyline continues what do you see as a possible role for Will in a 2015 world different from the one he left?

    DC | He’s gonna be, like what is happening. I mean, technology has definitely gone crazy in fourteen years, but I feel like he’d adjust to that pretty quickly. You know? It happened really fast for us. I’m trying to think—what would I see for Will? I mean, if I was Will I would probably try to get back to work. He’d probably try to take a vacation. But he’s been alone for fourteen years. He doesn’t want to be alone anymore. Unless it’s just too weird for him to be around other people. But I’d probably just try to get back to work as fast as possible. Give my mind something to focus on. Not a big long answer, but..

    TVAD | No. We’ll take it.

    DC | And then he’ll hook up with Jemma of course.

    TVAD | Okay, that’s what we were more expecting. Thank you for that. [Laughing]

    When you read this script did you realize right away this is going to be a really cool, different episode and character to play? What were your thoughts when you realized this was going to be such a different episode focused on the Simmons back story? It’s one that fans have been dying to know about so there was a lot of hyper-awareness for this episode coming in. Did that change your approach for something that was completely outside the box?

    DC | No. Because you want to have an approach that works for you, that works for you no matter what. So, I don’t want to change things based on—oh the fans are going to think this way about what you do or that the producers want it this way or the writers want it that way or what. Or that it’s such a big episode that I should change my approach. I want something that works for me all the time. So I try not to let any of the sheer size of the episode and the story they are telling change my approach as an actor. Of course there’s always the worry that I hope it works. I hope this comes across okay. But you don’t want to be changing too much. You want to have sort of the tools and technique that works for you. And keep doing that. I’m always open to direction and changing my way of working, but no, I didn’t approach this differently.

    TVAD | You basically went back to what you know and what your roots are. That’s what you stick to and what you rely on. We think you did a good job. This is a good episode. You guys hit it out of the park. And you’re right, the perception for this episode has been very positive. Yeah, fans have been polarized, but again, that’s a good thing because they have opinions and they really feel strongly about them.

    DC | Use your answer. Just put my name on it [Laughter].

  • 22:30 - The Flash - Season 2 - The Visual Effects of The Flash: Part 3 [VIDEO]
    Thanks to Ivan for the heads up.

  • 22:30 - American Horror Story: Hotel - Emma Roberts Not Returning
    Thanks to Darkness for the heads up.

    A couple of months ago, there were some rumors that you might show up at the end of American Horror Story: Hotel, did that ever come together?

    ER: It didn’t, and I’m sad about it. We tried to make it work, but I’m leaving town to go do a movie and they’re shooting the last two episodes right now, so Ryan and I said next season we’ll do something amazing and devilish. I love this season, I watch most of it with my eyes closed, but I think I get the gist. I love Lady Gaga so much, so I was like, “Next season I want to work with Lady Gaga for sure.”

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